 If the chordal playing musician were to omit the root and fifth of the dominant seventh chord (the G and D) and keep the third (B) and flatted seventh (F), and add the altered tones just listed (A, C and E), the resulting chord would be the pitches B, C, E, F, A, which is a much different-sounding chord than the standard G7 played by a pop musician (G, B, D, F).In Classical harmony and in pop music, chord voicings often double the root to emphasize the foundation of the chord progression.From the dixieland era through to the swing music era, many solo performers improvised by varying and embellishing the existing melody of a song and by playing by ear over the chord changes using well-known riffs.